Justin Townes Earle on Trying to ‘Keep it Together’ On Tour

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Justin Townes Earle on Trying to ‘Keep it Together’ On Tour
September 23, 2010
By Chris Adams
Speakeasy

Almost a week after a rowdy concert in Indianapolis that ended with him spending a night in jail and facing charges of battery, public intoxication and resisting law enforcement by force, Justin Townes Earle has entered rehab and cancelled the remaining dates on his tour. Earle has a history of substance abuse, and when asked by Speakeasy how he avoids temptation and keeps it together on the road, he half-jokingly responded, “I definitely don’t keep it together.”

Earle, who is the son of well-known troubadour, Steve Earle, was on tour in support of his new album, “Harlem River Blues,” which is filled with revival-tent tales of his adopted hometown (“One More Night in Brooklyn,” “Wanderin’”) and life as a touring musician (“Move Over Mama,” “Ain’t Waitin’”). Known for creating music that embodies classic folk and country & western, Earle added gospel and soul tinges to his new record, which was released on September 14.

The day before he was arrested, Speakeasy talked with Earle about the new album and found him to be open and matter-of-fact about the challenges of being a touring musician and eager to discuss his feelings on the brand of country music that comes out of Nashville, where he grew up.

The Wall Street Journal: In the past two years you’ve spent a lot of time on tour supporting your two prior albums. What is your opinion of life on the road?

It is basically all I’ve done; I’ve been on the road since I was 14 years old. I still love going on the road, but I don’t like doing it like I used to. I’m at the very beginning of a six-week run right now and I’m not very happy about it. I like to do two weeks and then go home for a week off and then go out for two more weeks.

When heading to the studio to record “Harlem River Blues,” what was your idea for its sound?

We were going for a big gospel sound. The concept basically spans from the Carter Family to the Staples Singers. To help create this sound, I brought in Jason Isbell, who I’ve known for years. I thought it would be a good idea to bring him in, especially because a lot of tracks have a soul touch and he’s from Muscle Shoals. I’ve recorded all my records at House of David. It’s a beautiful old house on Music Row in Nashville and it does have a really good vibe that influenced the album without a doubt.

Speaking of Nashville, what is your take on the country music coming out that city today?

Nashville every day of the week cranks the biggest pieces of dog s*** records that have ever been made. I’m practically embarrassed to be from Nashville because of that. The only reason I am embarrassed about being from Nashville is the s*** songwriting, s*** records and s*** singers who are making a million dollars.

What, specifically, do you dislike about the music?

Nashville is serving the lowest common denominator. It caters to the type of people who sit in front of their TV and say, “Did you see that new Gillette razor? I think I’ll run out and buy it because it is supposed to be better than the others.” It just turns everything into a shopping mall. Most people don’t know what they like and they just take what they get.

Contemporary musicians who are heavily influenced by traditional music face the danger of being labeled as nostalgia. What’s your strategy for avoiding that pitfall?

I think the difference is the writing process. There are all these old-time bands out there with kids who grew up in Brooklyn and they write about tractors and plow horses. I don’t know anything about farming. I’m a city kid. I grew up next door to a housing project. I think it makes a difference to write about things that you know and that are actually close to your heart. You have to be as honest as you possibly can as a writer.

What is your writing process?

I don’t sit down to write. I write really slowly in little bits and pieces. I used to carry little notepads with me and now I use the notepad on my iPhone. I wrote every song on “Harlem River Blues” on the notepad on my iPhone. I’m not one to overwrite and then edit. I just write exactly what I need to write.

How did having a well-known singer-songwriter as a father affect you as a young musician trying to make a name for yourself?

The only thing it did was when I first started putting out records there was definitely all eyes on me. They wanted to see if I was going to come out, for lack of a better term, and be a Julian Lennon. Unfortunately, a lot of sons and daughters of established musicians can’t live up to their famous parents and then they concentrate on it after that. That will destroy any career.